In his much later works, such as Lapis - Lazuli II (1994), Polke's use of
the precious ultramarine pigment, obtained from a gemstone, allows him to invoke the history of the divinisation of its colour as well as the history of humanity and of minerals brought to Europe via the Silk Road.
During the Renaissance, the most prized color was
ultramarine blue, which was made from
precious crushed lapis lazuli and usually reserved for the blue in the Virgin Mary's mantel.